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Proquest Dissertations INFORMATION TO USERS This manuscript has been reproduced from the microfilm master. UMI films the text directly from the original or copy submitted. Thus, some thesis and dissertation copies are in typewriter face, while others may be from any type of computer printer. The quality of this reproduction is dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleedthrough, substandard margins, and improper alignment can adversely affect reproduction. In the unlikely event that the author did not send UMI a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletion. Oversize materials (e.g., maps, drawings, charts) are reproduced by sectioning the original, beginning at the upper left-hand comer and continuing from left to right in equal sections with small overlaps. Each original is also photographed in one exposure and is included in reduced form at the back o f the book. Photographs included in the original manuscript have been reproduced xerographically in this copy. Higher quality 6” x 9” black and white photographic prints are available for any photographs or illustrations appearing in this copy for an additional charge. Contact UMI directly to order. UMI A Bell & Howell Information Company 300 North Z edb Road, Ann Arbor MI 48106-1346 USA 313/761-4700 800/521-0600 MARCELTABUTEAU: PEDAGOGICAL CONCEPTS AND PRACTICES FOR TEACHING MUSICAL EXPRESSIVENESS: AN ORAL HISTORY DOCUMENT Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Musical Arts in the Graduate School of The Ohio State University By Melissa A. Stevens, B.Mus., M.Mus. ***** The Ohio State University 1999 DocumentCommittee: Professor Robert Sorton, Adviser iprovedby, Professor Katherine Borst Jones Professor Christopher Weait Adviser Professor Judith Delzell School of Music UMI Number: 9931680 Copyright 1999 by Stevens, Melissa A. All rights reserved. UMI Microform 9931680 Copyright 1999, by UMI Company. All rights reserved. This microform edition is protected against unauthorized copying under Title 17, United States Code. UMI 300 North Zeeb Road Ann Arbor, MI 48103 Copyright Melissa A. Stevens 1999 ABSTRACT Marcel Tabuteau is considered one of America’s foremost oboists and teachers of the twentieth century. His students, and subsequent generations thereof, continue to occupy many major chairs in the symphony orchestras of the United States. Tabuteau’s students agree that he not only revolutionized American oboe playing, but he also had a significant influence on other wind, string and brass players. Marcel Tabuteau’s ideas endure mostly through those he taught. Many of these students are now in their seventies and eighties, thus justifying the importance of recording Tabuteau’s concepts and teaching practices through oral history. A broad range of Marcel Tabuteau’s students were contacted to see if they had an interest in being interviewed for an oral history about Marcel Tabuteau’s pedagogical concepts and practices. Live interviews were conducted with John de Lancie and John Mack, oboists; Felix Kraus, John Minsker, and Louis Rosenblatt, English homists; John Krell, flutist; Mason Jones, horn player; Hershel Gordon, cellist; and Abba Bogin, pianist. Questions were asked regarding specific musical concepts such as the "number system,” as well as how Tabuteau was able to express his ideas so well to so many people. The interviews that follow are rich in explanation of Tabuteau’s musical concepts including phrasing, “the number system,” inflections, and playing on the wind. Also discussed are his pedagogical practices that gave rise to a whole generation of exceptionally outstanding musicians. Tabuteau’s students referred to him as a fabulous communicator, and a colorful personality whose presence was revered and feared at the same time. u Tabuteau was exceptional in that his pedagogical concepts had a lasting effect on the musicians who studied with him. His teaching was organized in the sense that he had definite and concrete concepts which were taught to all of his students and which all of the interviewees talked about. He did not "spoon feed” these concepts to his students, but rather he expected them to learn by listening and example. Marcel Tabuteau gave the students the tools necessary to play any piece of music with conviction. m Dedicated to Mark Stevens and John de Lancie IV ACKNOWLEDGMENTS I wish to thank the members of my committee for their support of this document and their guidance throughout my education at The Ohio State University: to my advisor, Professor Robert Sorton, for his support and tutelage throughout my education at Ohio State; Professor Katherine Borst Jones, for planting the seed for this project and encouraging me through the whole process; Professor Christopher Weait, for his instruction and encouragement; and to Dr. Judith Delzell, for always giving of her time and guidance. I would also like to thank the members of my committee for their roles in my attaining the Graduate School Alumni Research Award, which enabled me to conduct the live oral histories. A special thanks goes to all of the interviewees who made this document possible: John Minsker, John de Lancie, Mason Jones, John Krell, Abba Bogin, Hershel Gordon, John Mack, Felix Kraus, and Louis Rosenblatt. Each interview was a special experience which I will treasure throughout my life. I would like to express my appreciation to them for giving of their time so graciously. I wish to especially acknowledge John Krell, who has passed on since the interview. I consider myself fortunate to have had the opportunity to speak with and have lunch with him. I want to thank David Oyen for translating Hugo Riemann’s Vademecum der Phrasiemng. 1 also want to thank Amy Likar for her help with formatting the document and her support throughout this project. I wish to also thank Anne O’Donnell of the Curtis Institute of Music for sending me a list of Tabuteau’s students. I wish to express my gratitude to my parents, Norman and Barbara Laperche, for giving me the courage to pursue my goals and always encouraging me to attain them. I also want to thank Sharon and Roger Stevens for their continued support throughout this project. The knowledge to pursue this project would not have been possible if it were not for my instruction under John de Lancie. I wish to thank him for teaching me these concepts and changing the course of my musical career. Finally, I wish to thank my husband, Mark Stevens, for always being in support of my every endeavor and a constant source of inspiration. I also want to thank him for running the recording equipment at the interviews and his patience with my doing this project. VI VITA June 27, 1969 ........................................ Bom- E*rovidence, Rhode Island 1987 .................................................... Governor’s Scholarship Recipient Interlochen, National Music Camp 1988-90, 92 ....................................... Aspen Music Festival, student of John de Lancie 1992 ..................................................... B.M., New World School of the Arts, student of John de Lancie 1992-1996 ........................................ Graduate Teaching Associate The Ohio State University 1994 ......................................................... M.M., The Ohio State University 1994-present ........................................ Second Oboe/English horn F*roMusica Chamber Orchestra of Columbus 1995-present ........................................ Substitute, second oboe Columbus Symphony Orchestra 1997 .................................................... Graduate School Alumni Research Award Recipient 1998-present ........................................ Second oboe/English horn Wheeling Symphony Orchestra RECORDINGS 1. ProMusica Chamber Orchestra of Columbus, Timothy Russell, conductor. Alton Howe Clingan, composer. Circle ofFaith-The Words o f Chief Seattle and Jerod Sheffer Tate, composer, [yaaknasha for Double Bass and Orchestra. Released 1998 by d’Note classics. 2. ProMusica Chamber Orchestra of Columbus, Timothy Russell, conductor. Milton Ruffin Gospel Chorale and Faye Robinson, soloist. Released Fall 1997 on the Summit Label. vu 3. ProMusica Chamber Orchestra of Columbus, Timothy Russell, conductor. Stephen Paul us Voices from the Gallery and Peter Schickele Thurber's Dogs. Released Spring 1996 on the Summit Label. 4. ProMusica Chamber Orchestra of Columbus, Timothy Russell, conductor. Michael Conway Baker Trumpet Concerto, The Flight o f Aphrodite. Released March, 1995 on the Summit Label, (disc shared with the Sinfonia of London) vm HELDS OF STUDY Major Held: Music Studies in: Oboe: Robert Sorton Woodwind Literature: Robert Sorton Woodwind Pedagogy: Christopher Weait Music Education: Judith Delzell Musicology: Charles Atkinson IX TABLE OF CONTENTS Abstract .................................................................................................................. ii Dedication .................................................................................................................. iv Acknowledgments ......................................................................................................v Vita ........................................................................................................................... vii List of Figures xiii Chapters: 1. Introduction ....................................................................................................
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